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don't sweat it
cheers
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06-24-2016 05:30 PM
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Originally Posted by studiotan
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Mozart with blue notes
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Originally Posted by bobsguitars09
Asking questions without at least offering your own opinions on the matter is unusual, so a few folks might consider it "creepy" or "soft trolling" (I think I made up that term). Don't let that stop you from participating in the forum!
But I think people would be interested in your views whenever you feel like offering them.
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Originally Posted by KirkP
Especially since you've been asking the same questions for year you should of formed some opinions and thoughts of your own from all this research. Otherwise it's like throwing a hand grenade then coming back for to check the body count.
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Originally Posted by NoReply
By the way, you're severely limiting yourself by blocking all PMs. I've never had a problem with a private message here, but whatever.
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Originally Posted by bobsguitars09
The athletic ability of his playing.
Musically, I don't really like his playing that much.
He's like a guitar shredder...interesting from a technique standpoint...but am I going to sit down and listen to him otherwise...no.Last edited by Drumbler; 06-27-2016 at 07:26 PM.
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Originally Posted by matt.guitarteacher
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Originally Posted by Drumbler
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Originally Posted by Drumbler
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Originally Posted by NoReply
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Thanks guys
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TruthHertz first post (since removed?) really got me thinking about (and listening to!) to Charlie Parker again. Although Bird is widely considered to be 'the' founder of bebop, in some ways he's not been as much of an influence as one might assume. There's a level of rhythmic freedom and surprise that seems to have been lost along the way, as the language got 'cleaned up' by players like Sonny Still and Red Garland.
PK
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At his best, Charlie Parker is telling a story. His solos are full of new ideas with no noodling. Every note is there for a reason. His solo in this track is phrased like two or three different people having a conversation. He was an innovator, mastering what came before him and building on it.
My Old Flame:
Last edited by KirkP; 06-26-2016 at 04:03 PM.
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Originally Posted by pkirk
But his balladry speaks for itself, of course, and supports the point I was making.
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Originally Posted by Hep To The Jive
But me, I'd be interested in hearing your opinion, too. I have the sneaking feeling I've got a lot to learn from everyone here, and that includes you.Last edited by Thumpalumpacus; 06-27-2016 at 02:29 AM.
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Originally Posted by KirkP
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Originally Posted by KirkP
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Originally Posted by Thumpalumpacus
First, I lied about going on and on about CP, he's not my main hero, tbh, not as someone like Art Pepper, if we talk about sax players anyway...
What I like about his playing, I can be very specific:
*I transcribed two solos that I found brilliant, love every note, every phrase: Dizzy's Atmosphere, and Red Cross. It's killing solos, check it out! Both are build on rhythm changes, so those licks you can use in many situations.
* I really like two of his tunes, Yardbird Suite and My Little Suede Shoes. I think they are great tunes even beyond bebop, and beyond jazz!
That's from off the top of my head... Unfortunately, I was always struggling to embrace other stuff, like Donna Lee or Confirmation, that everybody else think is genius... But it's fine. I like to play them for warmup or exercise, for that they are perfect. All IMHO for sure.
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I will definitely check those out, thanks for taking the time, bud. YS I've heard, of course, the first two I haven't. Thanks!
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I like the fluidity, and the relaxed feel. Even when he's playing super fast, it doesn't sound like he's pushing,
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Originally Posted by princeplanet
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For me, no matter how astonishing his technical ability was, there was deep feeling in his playing.
Last edited by Dana; 06-27-2016 at 04:57 PM.
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He'd use all the tools in the musician's toolbox for expression and to hold the listener's interest - dynamics, phrasing, tone, rhythm, leave space, etc. That's much more appealing to me than listening to someone shred scales.
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Originally Posted by NoReplyOriginally Posted by NoReply
For all the complaints about his unusual questions, the threads he started prompted some of the most robust discussions on this forum. They also, heavily engaged the forum's most respected and active long-time members as well.
I always view it as each individual's obligation or right not to reply to threads which DON'T interested them. Likewise, I don't believe it's the responsibility of members who have been on the forum for eight years to justify their behavior to "witchhunt" questions from members present a handful of months, especially when their questions are respectfully answered by other long-standing members who, themselves have a lot of credibility.
In another thread, Bob alluded to a life event which he suffered and which explained his unique communication style. I won't be more explicit than that, our of respect for him, but I don't think this forum is suffering from too MANY questions or too many robust discussions on playing versus gear.
I have reached out to Bob and would hope others might also.
Thanks.Last edited by matt.guitarteacher; 10-02-2016 at 06:51 AM.
What's happening at the end of this song?
Today, 07:55 PM in Ear Training, Transcribing & Reading